Haitian music legend Yves Fanfan Joseph on konpa’s evolution

SPRING VALLEY, N.Y. —  Not too many Haitian konpa artists can say they surpassed rock stars on a music chart of their heyday, recorded songs in between the crowning of roosters, or triggered the event of an entire new style. One of many few who can is Jean Yves “Fanfan Tibòt” Joseph, a founding member of Tabou Combo, Haiti’s legendary 57-year-old band and one of many few unique konpa teams nonetheless performing right this moment. 

As we mark the seventieth anniversary of konpa—birthed formally on July 26, 1955—we turned to Joseph for a stroll by way of the music style’s evolution, from its earliest days in Port-au-Prince as an offshoot of merengue to its emergence as a worldwide export. Since Tabou’s founding in 1968, Joseph has had a front-row seat to the various levels of the style by way of the years. At occasions, he was within the driver’s seat as his band experimented with new inspirations and applied sciences that helped it attain the apex of world music. 

Joseph generously supplied a wealthy historic overview of konpa, from its origins in 1950’s Haiti to its world attain within the Eighties and present challenges as know-how continues to impression inventive content material in all places. He shares deeply private anecdotes, his personal migration story as a dyaspora, and insightful views on the style and his present issues. 

The Haitian Instances sat down with Joseph in June at in Spring Valley, N.Y., the place he lives and operates two companies subsequent to one another in a modest strip mall, La Baguette Dor Bakery and Patisserie, in addition to the La Baguette Bistro, a restaurant and lounge adorned in Haitian artwork alongside its partitions.

The interview under has been condensed and edited for size and readability.

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Macollvie Neel / The Haitian Instances: Fanfan. Thanks a lot for letting us be part of you in Spring Valley for a little bit bit to speak about konpa reaching its seventieth anniversary, what it’s been like for you.

Jean Yves ‘Fanfan” Joseph: Nicely, sure, right here we’re, 70 years since konpa began in 1955—I’m so pleased and I’m so proud to be a part of that, one of many individuals who promoted konpa all through the world. 

THT: Inform us about that journey out of your perspective.

Joseph: Konpa began in 1955, and Tabou Combo was created in 1968. We’re the second [or third] technology, coming proper after Shleu Shleu, Les Fantaisistes de Carrefour. 

THT: Take us again there – the place it got here from and the way all these bands you talked about created the very first generations of konpa.  

Joseph: From what I’ve witnessed and heard, konpa is from the Dominican Republic. I do know I’m going to get plenty of warmth for saying that, however I’ve to inform the reality: The Dominican Republic was very influential in creating that likelihood. One particular man named Ángel Viloria, a Dominican artist, used to return to Haiti so much – crossing the border and taking part in [merengue] music. He had a broad viewers among the many younger folks, the higher class and all people. 

The Haitian musicians had been sort of like, ‘Who is that this man?’ We had been watching him going out with our women, filling within the golf equipment and every little thing. Nemours Jean-Baptiste had his personal band then. He determined to play the identical music as Viloria, however with a slower beat acceptable for Haitian tradition.

THT: Earlier than Viloria was coming in and taking part in merengue, what had been Haitians taking part in then? 

Joseph: The Haitians had been principally taking part in troubadours, with a trio of men taking part in small venues and all these items. With the American Occupation, big band jazz was additionally dropped at Haiti— Depend Basie, Duke Ellington. Guys like Nemours, who was a sax participant in an enormous band, began to cut back the format [size] to play in golf equipment. In 1955, they gathered with a bunch of men, amongst them Richard Duroseau, and created Ensemble Aux Calebasses. The primary live performance was at Place Saint-Anne in Port-au-Prince. It was free – all people got here.

THT: What precisely did Nemours Jean-Baptiste do with the sound to make it new?

Joseph: He slowed the beat down and sang in Creole. He introduced his personal tradition, his personal language, his personal style—and created konpa. All through the years, konpa advanced. Now, we have now a very totally different konpa from what Nemours created. 

THT: Earlier than we get to that evolution, inform us about your first time listening to konpa music? 

Joseph: I used to be strolling to high school, at 5, six years outdated, once I first heard it. However I began listening to music once I was about 13, 14. Nemours had very catchy songs and he known as it “business” to be easy and direct, to the purpose, so folks can catch it from the primary beat. It’s konpa direk. Nothing sophisticated – simple chords, simple to observe – so folks can simply take pleasure in themselves. Nemours stated it in his track.

As soon as Haitians received their very own music, they weren’t listening to Dominican music anymore. Individuals simply overwhelmingly simply took the scene. 

THT: Take us back to you realize like your first bal—not as a musician taking part in, however as a fan?

Joseph: Oh yeah. There’s a man who used to reside in Pètion-ville whose band was known as Jazz des Jeunes. When he was going to bals, he used to take us to this place, Djoumbala, in an space known as Freres. Myself, Jean-Claude Jean and some different guys used to go pay attention.

Music is part of Haitian tradition—very, very, very a lot a part of our tradition. Apart from taking part in soccer, that’s the one different factor [for fun] you’ll do.

THT: So how did you begin discovering your love for music to the purpose the place you joined a band?

Joseph: To inform the reality, I by no means thought I’d be a musician. By no means in my wildest creativeness. However I grew up in Pétion-ville and went to the Lycée de Pétion-ville with André Dejean, Hermann Nau. These guys had been musicians from the get-go. I used to be a soccer participant, captain of the Lycée workforce. Jean-Claude Jean was my finest pal—and he was into music. He used to go to rehearsal with Tabou Combo on Sundays, so I’d go to rehearsal and look ahead to him to hang around afterwards. 

Someday, Tabou Combo had an argument with the conga participant, and he didn’t present as much as play [at a kermesse]. The band couldn’t cease, so Jean-Claude stated, ‘Epa Fanfan la [Fanfan’s here].’ So I performed. I don’t even bear in mind what I did.

THT: Did you finally be taught to play the conga?

Joseph: Sure. There was a man who used to play congas—Pierre. He confirmed me easy methods to play conga, for 20 cents for every lesson. I grew to become ok to do a recording. There was no such factor as punching a pc. You needed to play reside, on level, each time. I miss these days.

THT: What did really recording a track appear like?

Joseph: There was one man, Widmaier, doing the recordings. Our first album was recorded on two tracks. So there was this membership known as Djoumbala, the proprietor was a cock fighter and he had a gagè within the yard. We went into the nightclub to file the album and each time we began, we heard ‘coo coo coo,’ ‘coo coo prepare dinner’ from the cocks. At 7 o’clock, all of them stopped and that’s how we recorded the album. Once they went to sleep. 

Making the band, the primary time 

THT: Discuss in regards to the composition of a traditional konpa band. Earlier than know-how, what had been the principle folks wanted? 

Joseph: Formation was: Two guitars and a bass, like The Stones and the Beatles. For rhythm functions, conga—which was very a lot a part of Haitian tradition—together with the gong and an accordion, because the keyboard was non-existent, and, the vocals. 

For rhythm functions, we added conga—which was very a lot a part of Haitian tradition—together with the gong and an accordion…

THT: How was that totally different from say the formation that Nemours Jean-Baptiste had? 

Joseph: Nemours Jean-Baptiste had the large band affect. He’d have trumpets and 4 saxophones. That formation got here underneath the affect of Duke Ellington and Depend Basie. However when the Stones and the Beatles got here, it was a brand new technology of music taking part in with all this rock and roll 

THT: How did the followers reply? 

Joseph: I bear in mind someday they advised us our track we recorded, Gislene, was going to play at 8 o’clock on the radio. On the time, we rehearsed within the open air at Albert Chancy’s home, within the yard. That day, the identical youngsters who used to look at us rehearse, the entire neighborhood, gathered round a small radio we had. I held the small radio [up] excessive. Once they began taking part in the track, the entire neighborhood erupted—’Oh my God.’ That was loopy. 

THT: I perceive totally different neighborhoods had their very own bands—that’s how the polemics began. 

Joseph: There are at all times polemics. While you’re younger, you’re at all times making an attempt to place your mark on the earth. There are polemics between the Beatles and the Stones. It’s at all times like that, nevertheless it wasn’t something dangerous. It was like motivation, I’m making an attempt to be higher than you. That’s human nature.

THT: At the moment, so much was happening politically in Haiti. How did politics find yourself touching you or the band after some time?

Joseph: I might not say that politics affected Tabou Combo immediately. I imply, we had some interplay with some jealous husbands who had been politicians as a result of their girlfriends used to return to the band. 

I imply, there’s at all times politics in Haiti. With Haitians, when one thing is finished, folks would ask you, ‘Who was president then? Beneath which president?’ That makes its manner into the music. Politics is a really, essential a part of Haiti, sadly. It brings plenty of hatred, plenty of anger, plenty of stress. 

THT: How does that chaotic surroundings have an effect on the music itself? 

Joseph: Nicely, musicians can not evolve as a lot. There’s at all times some turmoil. They can not go to the studio as a result of the roads are blocked. You can’t go to carry out as a result of there’s a curfew. It’s at all times one thing. Politics has an excessive amount of clout in Haiti. 

Remaking the band overseas

THT: It’s the explanation so many individuals ended up leaving Haiti within the 60s and 70s. Why did it’s a must to transition to the U.S.?

Joseph: The band disbanded in Haiti as a result of our dad and mom didn’t like the thought of us being musicians. At first, they thought it was a really good exercise. If anyone has a birthday, you come to the home and the band performs totally free. When our music began being performed on the radio and all people favored it, we received contracts all over. Albert Chancy’s father stated, “I don’t suppose Albert goes in the proper path,” so he shipped him to Canada.

We had a [farewell] celebration. All people was crying. And I bear in mind this man who was a well-known DJ on the radio got here and stated, ‘Nicely, Tabou Combo won’t ever die.’ After that, all of us began touring. Again then, Haitians traveled. We had been revered everywhere in the world. They didn’t suppose ‘I’ll go to a spot and keep.’

THT: How did you all find yourself in New York?

I ended up going to Chicago in ‘71, ‘72 to proceed my research. My godmother was residing there, however the different guys who got here to New York—Kapi [Yvon Andre] got here to New York. Jean-Claude Jean got here to New York. Hermann got here to New York. They discovered different gamers they usually stated, ‘Why don’t we put the band again collectively?’ I used to be getting plenty of calls, the fellows saying, ‘We’re ready for you.’ I used to be in Chicago making an attempt to maneuver on with my life. However I couldn’t discover work, and it was chilly as hell. So I advised my godmother, ‘I’m going to New York.’

THT: What was performing right here like at the moment?

Joseph: The Haitian diaspora was virtually non-existent. Brooklyn had only some Haitians and Queens. Miami has probably the most Haitians, however there was no group. After we’d go to Boston, no one confirmed up as a result of there was no one there. In order that’s once we stated to ourselves, we have to make one thing.

THT: So, how did you make it daily? Did you progress in with mates, the band guys?  

Joseph: You’re going to snort at this. The supervisor of the band had two bedrooms and he was married. So, he gave one bed room to Shoubou [lead singer Roger Eugene]. I used to be residing there, in the identical mattress with Shoubou—a queen measurement mattress. Me being a spoiled brat, I didn’t even know easy methods to wash my garments. Shoubou washed my garments.

THT: Oh, wow! And, the place in New York was this? Do you bear in mind the house?

Joseph: Shepherd Avenue in East New York. It was the hood. However I didn’t know the distinction then.

THT: Did you find yourself working as a full skilled musician then? Otherwise you discovered a job? 

Joseph: Music was nonetheless a pastime. I used to be a safety guard at a clothes retailer, Rainbow Outlets, making $2 an hour. I got here dwelling with $60. I then lived in a basement on Linden Boulevard with the opposite band supervisor, and my lease was like $50 a month. The lads used to rehearse in that very same basement. So on Saturday, we had been rehearsing in my room. 

I additionally went to mechanic faculty. It was the one faculty that may settle for me with out papers, so I stated. ‘What the heck?’ After graduating, I labored for one week! I received one other job as a chauffeur on the United Nations for the Congo Mission. I labored there for 10 years. 

THT: And the way had the formation of the band itself modified by then?

Joseph: We have now synthesizers on the scene. The primary synthesizer was known as a Moog. So we used that in sure recordings, however we didn’t have a keyboard participant. The primary time we had a keyboard participant was in ‘Kité’m Fè Zafèm.’ Ernst Marcelin—He was a jazz participant and slot in as a result of he launched that sophistication within the konpa. Sadly, he received shot after a gig at Le Manoir in Brooklyn. He received shot on this automotive. They stole his keyboards or one thing like that. 

What Kassav did with us is strictly what Nemours did with Angel Viloria. It was like a pleasure factor, a nationalistic factor.

THT: At that time, what had been a number of the modifications you began seeing on the scene? 

Joseph: Within the 80s, when the keyboards and the synthesizer got here alongside, Kassav got here round. What folks don’t notice is that the musicians from Kassav are die-hard Tabou Combo followers. After we had been on stage, they used to return and watch us and take heed to us. 

These musicians had been watching us—one other band coming in from overseas, going out with their girls, taking up the scene. They stated, ‘What are we going to do? We are able to’t let that occur. We have now to do one thing.’ It was like a pleasure factor, a nationalistic factor. So, that’s what Kassav did, with the keyboards. That is precisely what Nemours did with Angel Viloria. 

I used to be impressed with the vitality, with that sound. It was so clear. So we employed a man to place us into that know-how—Brad Baker to do the programming. Round this time is once we get Top Vice. [Sweet] Micky. It was a lowered model of a band. You solely had two, three guys taking part in the music and making the identical cash. So, why not?

Music desires and cash talks 

THT: Since Tabou didn’t cut back the band and as a substitute added a keyboardist, how was the cash then?

Joseph: Tabou Combo wasn’t about earning profits. This was a couple of bunch of men wanting to overcome the world with their music. It was about being on the radio, being on TV, being konpa stars. 

You don’t go to music, saying, ‘Oh man, I wish to get wealthy. That’s why I’m taking part in music.’ No. I don’t suppose it really works like that. 

THT: How does it work then?

Joseph: It’s like this: You’ve gotten a dream and also you keep behind a dream. That was the mentality of my technology, with guys like Mick Jagger or John Lennon. There’s plenty of different methods to generate income in addition to taking part in music. You get a job, have a career. 

It appears, sadly for Haitians, prefer it’s a manner out, to both get a visa. They kind a band or have easy accessibility on a pc. Some folks don’t take the time to grasp the music or play an instrument.

THT: What’s the cash like, although? Yearly, how a lot had been you making on the time?

Tabou began making actual cash with “Aux Antilles,” “Kité’m Fè Zafèm,” “Zap Zap,” “Fenoméne Tabou.” All the pieces earlier than was simply gigging. With “Fenoméne Tabou,” I feel the sound man purchased a home after a tour. One yr, we made 1,000,000 [dollars] with “Aux Antilles.”

THT: That’s fairly good by any requirements. Now, whenever you talked about the necessity to have a career. Which did you pursue?

Joseph: I took the LSAT, and the second time I handed it. I used to be admitted to the College of Michigan. I didn’t go as a result of I used to be married. I had a child. After some time, I nonetheless wished to go to high school. I took a course at Metropolis School, found I cherished math. So I studied worldwide relations and schooling, graduated in ‘88.

THT: Did you find yourself educating?

Joseph: I had a nasty expertise. In my internship, I used to be assigned to youngsters who’re on the verge of dropping out, to deliver them again into faculty. These youngsters had been speaking about graffiti, killings. I didn’t like the way in which they addressed lecturers; no respect, so I stated, ‘This job is just not for me.’ At that time, cash was there, the celebrity was there— every little thing was there. I used to be on TV and we had been flying to plenty of locations.

Going world for good     

THT: What was that like, taking the music everywhere in the world again then? 

Joseph: Doing all these reveals in Martinique and Guadeloupe, typically we didn’t receives a commission. Generally we slept on the airport as a result of the promoter didn’t purchase us a ticket to return to New York. They used to place beds [mattresses] on the ground in a single resort room for everyone to sleep. Different occasions, they’d lease a home or one thing to place us there and simply deliver us meals.

The followers didn’t know the situations. Each time we received on stage, all people was pleased, screaming. In Martinique, we used to play twice a day for like 15 days. Two reveals each evening—the primary one begins at 9 [o’clock] till like one within the morning. The second begins at two till six within the morning.

THT: How did you all finally get out of these conditions?

Joseph: Haitians had been badly regarded in Martinique again then as a result of sure Haitians, sadly, used to go there searching for work, had been barely educated. They used to work in plantations. However once we began going there, they noticed we lived in New York, spoke French, and thought we had been totally different. That’s when it [konpa] began to assimilate. 

THT: That was nonetheless primarily for French-speaking audiences on the time. When did konpa begin changing into extra of a worldwide factor? 

Joseph: Really, our first world hit was “New York City” in 1974. That’s once we had been throughout Europe, not simply France. A la ti pitit danse, oh, oh oh— that was our first world hit. 

THT: For any Haitian band? 

Joseph: For any Caribbean band. On a European chart, we had been primary over Ike and Tina Turner. 

THT: Wow. Did you begin getting that feeling of changing into the Rolling Stones as you had dreamt of? 

Joseph: After that have, you begin to take a look at music differently. I began seeing folks I by no means noticed earlier than, locations I’ve by no means seen earlier than in my life, folks from big-time newspapers. I went to locations that you simply by no means knew existed. It opens doorways for you. 

THT: Inform me extra. How so?

Joseph: There’s an editor from Vogue journal that was in love with me. So I used to be in Paris, and we had been invited to the file producer’s house in Paris 14ème. Gerard Depardieu was there. Alain Delon—all these big-name French folks. And the producer introduces us. ‘Girls and gents, these are the fellows who made me probably the most cash this yr: Tabou Combo.” All people was like, ‘Wow.’ And that lady simply took me and began dancing with me on the espresso desk of the house. Like singled me out, kissing me all over.

I stated, ‘Oh, my god.’ So, you began seeing totally different folks. I stated, ‘Nicely, that’s what music is about.’ you realize? If you find yourself up there in massive studios, plenty of cameras, you go to TV stations—That’s it. 

Taking part in for the group is a unique story. That’s what I at all times say to my fellow musicians: Attempt to conquer the world. You’re going to see music in a unique mild. 

THT: Yeah. You’re not on the ground anymore. 

Joseph: That’s how it’s although. All the time strive your finest, at all times attempt to make it on a world stage.

THT: You point out your spouse and having a household just a few occasions. How would you describe the function they performed in your selections about pursuing music and being a konpa star? 

Joseph: My household—my spouse Nadja and son Mikhail—has been very supportive of my profession as a musician, touring world wide. I bear in mind my spouse giving me a trophy after I wrote “Aux Antilles.” I used to be stunned! 

Surviving the grind

THT: Now that you simply’ve develop into a mentor to a number of the youthful generations, inform me a number of the recommendation you end up giving them. 

Joseph: I feel it’s to be true to your self. You understand, don’t misinform your self. Don’t suppose you’re one thing that you simply’re not. If you realize you’re good, know you’re good. Be humble and simply keep on with your dream. 

What we did in Tabou Combo was loopy. It was loopy as a result of we may have ended up in a unique place. There’s no assure. [About 90%] of musicians don’t make it. It’s like being an NBA participant. Not all people can play with the Lakers. 

Sticking collectively—That’s what Tabou Combo taught me. Tips on how to stick collectively. No one ever ever tried to half from the band, to say ‘I’m leaving this bullshit’ as a result of he didn’t make any cash or a promoter stated, ‘Oh, I’ve no cash to pay you guys’ and simply vanished. No, you name your ex-girlfriend or your girlfriend and say, ‘Chérie, are you able to ship me a ticket?’

About 90% of musicians don’t make it. It’s like being an NBA participant. Not all people can play with the Lakers.

THT: Once I see you guys on the market, taking part in in Panama continuously, locations in Africa, everywhere in the world—do you are feeling such as you’ve achieved your purpose?

Joseph: We may’ve been so much farther if we spoke a unique language, if we had been in English. I’ll most likely get plenty of criticism for saying that. However, lyrics are vital. Take a look at Juicy Lucy—lots of people prefer it as a result of they perceive the lyrics in English. That’s why we attempt to at all times incorporate English in our songs so folks can relate. And it really works.  

Throughout that period, there was no social media. It was solely radio and TV. So it was very restricted. With social media, you’ll be able to have 1,000,000 views talking Creole as a result of folks have extra entry to your stuff. 

THT: So now you’re this know-how. You talked about SoundCloud. There’s AI now. Such as you stated, lots of people attempt to use music as a manner out, with out understanding it—

Joseph: It’s not like they don’t perceive it, they only don’t take time to grasp the tradition. It’s identical to quick meals. 

THT: How so? 

Joseph: It’s one thing to eat. Individuals are actually perplexed once they hear music from Tabou. I used to be taking part in on the stage with one other band, and this one man there was like, ‘Oh my god. You guys are nonetheless taking part in the identical track and persons are nonetheless loving it.’ However it’s like listening to The Beatles—who stops listening to “Yesterday” or “The Lengthy and Winding Street?” Some songs are identical to everlasting. They had been so generously carved, from the guts. It’s an expression. 

THT: I’m curious to know what your ideas are on methods to keep up and develop the style, then. 

Joseph: To inform the reality, I personally don’t perceive it anymore. This [social media] views factor, for instance, simply left me. Snoop Dogg stated one thing like again within the day, should you bought 1,000,000 albums, you get a greenback per album, you make 1,000,000 {dollars}. Now you bought 1,000,000 views—the place’s the cash?

Individuals used to have a stereo on the home the place they listened to music. Now all people is listening to music on their telephone. What sound do you may have on the telephone? 

Nonetheless, the funds doesn’t change. You continue to need to pay a musician, go to a studio and every little thing. However you set it on-line. How do you recoup that cash? Earlier than, you used to spend like 20,000, 30,000 {dollars}—even 50,000. However we used to promote CDs, go to festivals, go to file shops—and see folks shopping for your CDs, see the cash. Now, the place’s the cash? Who’s making the cash?

THT: The platform homeowners. 

Joseph: However not us. 

When the instructor turns into the coed 

THT: So, what’s the lesson there?  

Joseph: At this explicit time, I’m extra of a pupil than a instructor. The one factor I do know now could be simply that I play reside and I generate income taking part in reside. However so far as royalties go, I don’t know. The brand new technology should discover a option to generate income.

THT: Right here’s one other fascinating factor about konpa. We hear that in Haiti’s music scene, there’s plenty of reggae, rabòday, rap kreyol, even samba and drill music. Konpa is just not king anymore.

Joseph: They’ll take heed to no matter they need, however the music is supported by economics. The explanation konpa remains to be alive is as a result of konpa generates cash. Rap kreyol and every little thing, folks in Haiti haven’t any cash to assist it. It’s the diaspora who go to festivals. They go to Carimi at UBS Enviornment, they go to Barclays Heart. 

Diaspora are usually not solely in Miami, New York. Now, they’re in Chile, Brazil, San Diego, Korea, Indiana, Canada—they’re in all places. They do fundraisers, festivals, seaside events—they’re in all places. If it wasn’t for the diaspora, there’d be no konpa.

If it wasn’t for the diaspora, there’d be no konpa. Konpa remains to be alive as a result of it generates cash.

THT: In case you had been to summarize this complete expertise as one of many icons of konpa, over these 70 years, how would you encapsulate your entire expertise in a phrase or two? 

Joseph: Fantastic. Perhaps it wasn’t a beautiful expertise for lots of people since some ended up in a nasty spot. If konpa had been to be structured, that has to return from Haiti. It has to return from folks in Haiti the place konpa originated, from the bottom of konpa. If it’s a must to have an HMI, it must be in Haiti. We have now to affect the radio stations, pay royalties. 

THT: Social media platforms, as a type of distribution, would slot in the identical class as radio stations in 2025. No?

Joseph: Radio remains to be a pressure in music promotion on the earth. Lots of people don’t have entry to or select to disregard social media platforms. So whenever you go to a overseas nation, you take heed to radio stations in your automotive or within the streets. In Martinique and Guadeloupe, the radio stations play the music of the native artists. In Haiti, the radio stations are competing in opposition to one another. There’s no hit parade. You must pay to get airtime. So, that [structure] must be [established] in Haiti, though the diaspora is the spine proper now.

THT: Nonetheless although, different audiences, non-Haitians, gravitate to Haitian tradition by way of its music, regardless of the dangerous rap Haiti will get. 

Joseph: Individuals love the music. They don’t care about who’s killing whom in Haiti. They simply wish to have a look at the musicians, take heed to the music. They love the rhythm. Had Haiti been extra calm, extra progressive and steady, konpa [the HMI] would have been much more steady.

THT: Do you suppose konpa will nonetheless proliferate the world over or will it will definitely die out? 

Joseph: These days, it’s extra about solo artists. Not the konpa of Nemours Jean-Baptiste or the total band. Me, I’m not going to a live performance to see only one man. I wish to see musicians.

THT: So, how does it make you are feeling to think about this style as doubtlessly on the verge of going out?

Joseph: I’ve no regret. I’ve carried out what I needed to do, and I’m pleased with what I’ve carried out. 

THT: Nicely, something you’re excited to see now, from any style or Haitian artists? 

Joseph: Oh, yeah. There’s plenty of expertise. I like Zafèm. I see Nu Look, I see Klass when I’ve an opportunity. However my all-time favourite band was DP Specific. 

THT: Oh, sure. Fingers down. Thanks a lot, Fanfan. This was an awesome catch-up.

 Joseph: Thanks.

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